My paintings are about painting and about how we perceive collective stories.
I'm triggered by the complexity of the history of painting. But also, by its ability to lift abstract problems, such as the difference between reality and appearance. I want to understand how painting can carry its own history while remaining in relation to the present.
I combine opposing styles and motifs to create a play between abstraction and the figurative. Between representation and the surface. I want the reading to change depending on where the viewer is watching. Only when the painting surprises me, I'm happy.
A key difficulty is the relation between the concept and the craft. I hope that the conceptual interpretation of my paintings, along with the visual expression, can create something larger than the sum of the two.
I plan the paintings carefully. I make mind maps to get ideas and I sketch in Photoshop. The paintings are based on photographs or 3D models. The more I prepare the painting, the more intuition, random and welcome accidents take place when I apply the paint on the canvas.
I create paintings that investigate the reality of the privileged white man – i.e. my reality. I look for marginalized stories and I let them encounter normative stories. There is an interaction between my commitment to other people and the exploration of my own identity.
In the world of ideas, we create mental images to structure what we think we know about the world. These images are not tied to the language and may not be definable with the language. They are unique. There is no collective perspective. The question is which pictures are allowed to form the collective story.
You cannot distinguish reality from its representation. Media sources describe events, places, and people. The question is what social, political and internal reality prevails. When I use these images as references, I create new stories. My contribution to the collective story.